Afleveringen
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I had David Griffin on today and he's a unique individual in so many ways, not only as an artist but as a person as well. I'm fortunate to be able to represent David's work. I'm also fortunate to have gotten the time to talk to him and understand the path he took to get where he is today.
His story starts in Lubbock, Texas, which is not an area known for its art production of artists, and coming from a family where father was actually a very sophisticated entrepreneur who came from nothing. You can imagine if you're a young person growing up in Lubbock and your dad runs and develops truck stops, that they may not understand the creative juices that someone has. David just didn't give up what was obviously his path, his road from being a illustrator to an artist, to really capturing some major awards at museum shows.
I love podcasts that just kind of go at their own pace, and this was one of those. It took two hours basically. So it's a part one / part two, and it took that long because that's where the story went from understanding his process to really making a major discovery of who he is as an artist and as someone who hears music in his colors in a way that I don't think he was even aware of.
So it was fascinating as somebody who's doing an interview and I think it was a great experience for him as well. So this is a wonderful discussion that we had, and I hope you take the time to listen and also go to YouTube and just see the paintings we talk about. -
I had the good fortune to go and interview the Grand Canyon Superintendent, Ed Keable, and at the time, I was also allowed to do a tour of the Kolb House. This is a very special place and the story is amazing. It really is a story made for a movie. In fact, I'm surprised it hasn't been mad into one yet because it tells the story of these brothers that came to Arizona in 1901 and 1902, and they set up this photography studio, right on the edge of the Grand Canyon on the South Rim.
It's still there, and we were given access to the property and to get to see and view how they lived in their house from 1904 until Emory dies in 1976. Inside is the photography room, the areas where they would have parties, and some of the most amazing views you've ever seen of the Grand Canyon.
Part of the house is open as a museum, but part of it isn't. And we're going to show you the part that isn't. That's what's special about this and why I wanted to make it into a podcast. This is one of those that I highly recommend watching on YouTube.
It's a pretty compelling story, and I think it's one of those places that you may never get to visit in person. Hopefully this tour via my podcast/video will give you a sense of what it's like and what it would have been like at the turn of the century in Arizona.
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Zijn er afleveringen die ontbreken?
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This is the kind of podcast I enjoy making the most. It's one of those in the perfect location that's just off the cuff. You see, I went to artist Shonto Begay's studio in Flagstaff. We were picking up some paintings, and it was just a great opportunity to spend some time with him talking about his work, his studio, and things that affect his life. It was actually a very moving interview, and I think you'll feel the same.
Artist studios are sacred places. Shonto's studio is no different and in some ways even more sacred than usual. He shared a couple of extremely personal pieces that are in his studio. Paintings that not only show how he sees the world, but how he views the healing process.
So it's a great video to watch. I know it's a podcast, but if you have the chance, watch it on YouTube. Not only is it a treat to be teleported inside an important artist's studio, but it's so real and in the moment.
At one point he even goes, "oh no, I gotta go put some money in the meter!" We just run down to the street to put money in the parking meter while we were filming because that's what he has to do every day where his studio is. He had been at the studio all day getting his paintings ready for me. I felt so bad I was even prepared to pay his parking ticket.
So this is a very interesting and beautiful podcast with Shonto Begay.
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I had a very interesting conversation with Ed Keable, who's Superintendent of Grand Canyon National Park. The setting was unbelievable. We literally sat at the Kolb House overlooking the Grand Canyon. Ed was so fascinating though that I could really only focus on his story, and so the canyon just kind of melted away.
He's has a very unique position with an immense amount of responsibility. He had a somewhat unexpected journey to get to be Superintendent because his training was as a lawyer. He worked for the Department of Interior for 23 years before becoming the Superintendent.
He took the job at the beginning of Covid, so he was dealing with big problems from the very beginning. We talk about that, as well as other issues he faced such as the recent Dragon Bravo fire that swept across the North Rim and the ecological trouble facing the Colorado River. In fact, Ed is responsible for 277 miles of the river that passes through the Grand Canyon. He's on three different committees related to the Colorado River. Yet with all of these troubles he's facing, he clearly loves his job, and is clearly very good at it. It is the kind of profession that requires you to do a lot.
I was enthralled for an hour listening to Superintendent Keeble, who is a very sharp, interesting human. I must say, I feel very lucky that we have someone of this quality in charge of such an important place, the Grand Canyon.
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I had Wendie Martin on my podcast today, and she's co-owner of International Artist Publishing along with Adolfo Castillo. That's the media group responsible for magazines such as Western Art Collector, Native American Art, American Art Collector, American Fine Art Magazine, and International Artist. So she's got her hands full.
We talked about her magazines, sure, but we mostly spoke about the process of how she got where is she is today. When i do these podcasts I want to know how people became what they became and their journey. Wendie's journey is a very interesting one.
Her father was a car racer and somebody who was a specialist in fixing and rebuilding motors and we learn about how that affected her trajectory. She's still involved the automotive world and at one point became an auctioneer that specialized in auctioning classic cars.
Wendie is just this very interesting person who's quite important in the world of Western & Native arts because of her magazines and their influence. She gets it. She loves collectors, she loves what she does, and this passion comes across in this podcast.
That's why I do these things. To try and learn and to understand somebody like Wendie Martin. Someone who is really interested in, not only artists, not only collectors, but the entire business of art. That's a big component of what this podcast is all about.
So enjoyed it a lot. This is Wendie Martin on episode 395 of the Art Dealer Diaries Podcast.
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Sometimes you do podcasts not only because you're interested in the person, but you're also interested in just history, right? In this case, it's the history of Skip Andrews, his own personal journey as an artist, as well as his relationship with the iconic Arizona artist, Ed Mell.
Skip and Ed were friends in high school and ended up working together in New York City in the late 60's and early 70's. They started a company together called Sagebrush Studios and did some really great work together. I got to hear stories about Ed and Skip and their antics and see artwork that I would have never guessed was done by Ed Mell.
We see plenty of work by Skip as well who is a highly regarded illustrator, designer and airbrush artist. He did magazine covers for National Lampoon and Arizona Highways, worked on ad campaigns for Coca-Cola and Dickies, and showed us many other incredible works of commercial art.
So this is probably the kind of video that is best taken in through YouTube, because you can see the images that we're talking about, and there's just something about seeing Skip's face as we discuss one of his closest and dearest friends.
I found to be very interesting. I learned a lot. I had a great time. We filmed this in Ed's studio, which was a just a treat to be able to to do that, feel the energy of Ed and all the great paintings he had done alongside one of his best friends.
This is Skip Andrews on episode 394 of the Art Dealer Diaries Podcast.
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In March 2026, the Scottsdale Art week had some discussions which were really informative. I really enjoyed this part of the programming and I wanted to share it with you.
We had a booth there and I gave a lecture on Maynard Dixon and Ed Mell, but there were some other lovely panels/lectures that we recorded, and one of them included Diné weavers, Naiomi and Tyler Glasses. I've been fortunate to get to know them and I'm just so impressed with their creativity.
They talked about their upbringing and the influence their grandmother had on their path towards becoming weavers. They speak on the connection between traditional Navajo weaving and contemporary fashion, and how blending utility and beauty is nothing new for the Diné.
During the panel we hear about the origin of Naiomi’s collaboration with Polo Ralph Lauren and how she was able to bring her brother on to help with a subsequent venture with Ralph Lauren Home. It's really interesting to get their take on how they've grown as a brother and sister team looking at fashion through the eyes of their own culture.
So, I felt it was a really insightful discussion and something that you would have missed were you not in Scottsdale during the show, but luckily we are able to bring it to you today. This is Naiomi Glasses and her brother Tyler Glasses on the Art Dealer Diaries Podcast episode 393.
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I recently gave a lecture called "Ed Mell: A Closer Look" at the Phoenix Art Museum and I wanted to share it with all of you as an episode of my podcast.
It was an interesting experience for me for two reasons. One, I knew Ed very well as a friend. Two, I represented him for almost 30 years. So with this lecture, I got to think and speak about him how an art historian would. The friendship element was part of the lecture, no doubt, but the talk is filled with the other more analytical art world components as well.
For example, I talk about the difference between a 1980 Ed Mell and a 1981 Ed Mell. I analyze the kind of subject matter that he did and when he did it and why he did it. If you love Ed Mell you will probably find this talk that I did to be very interesting and maybe even compelling. I thought it was a really enjoyable from the speaking perspective.
The Phoenix Art Museum just has such a beautiful collection and they have an exhibit called "Ed Mell: In the Studio" in their all new James K. Ballinger Wing. The wing is going to be closed for a renovation from now until mid September 2026, but it'll be open again after Labor Day. Once it opens back up, the Ed Mell exhibition will be up through April 2027. Most of the work in the exhibit came right out of his studio, including some very early pastels and small oil studies. It's a very cool setup and it was curated by Chief Curator Olga Viso, who I interview at the end of the podcast about the show.
So if you love Ed Mell, you might want to watch this one. Keep in mind the YouTube version will have all of the images I discuss, as well as the bonus interview at the end that shows parts of "Ed Mell: In the Studio." -
I love a podcast that's a little different. Today, Shonto Begay showed up with four new paintings and they're all terrific. One of them however was incredibly important because it explores Shonto's experience at an Indian school and how that affected him. I mean, he's 72 years old and this is something that still affects him to this day and I completely understand why.
You see, he's able to make that world different in his own mind through the catharsis of painting. In this painting I'm referring to, he explores that and lets the viewer see it how they want to see it, but the story of the painting is there for everyone. If you go to the YouTube version of the podcast you'll be able to actually see the painting we're talking about.
So we talk about the four paintings he brings in for about half of the podcast, and then we move over to the Maynard Dixon and Native American Art Museum where we talk about a couple of his other paintings that are a part of the exhibition "Native Voices: 75 Years of Creativity."One is called "Helpless," which is a monumentally important painting and a marker for Shonto's art career. It was done in 1996, and I've owned it for at least 15 years. It happens to be a very important painting in my life as well.
Shonto is somebody that I respect and appreciate very much. You can hear the passion, the wisdom, and the energy that he breathes into the world as he speaks. He's just a remarkable individual, not only as a painter, but as just a human being. I'm grateful that I get to show his work and to call him my friend.
This is Shonto Begay on episode 391 of the Art Dealer Diaries Podcast.
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Today's podcast was a panel that I was a part of alongside artists Kim Wiggins, Martin Grelle, and my son, Charles Sublette, moderated by Tim Newton. We talk about Western art, the future of art in general, how the world perceives what we happen to specialize in.
With the artists on the panel, we had two different but equally qualified individuals. There was Martin Grelle being on the traditional side and Kim Wiggins who is more of a modernist. They talk about how they see things in their world, from their perspectives as creatives.
Then on the other end of the spectrum you have myself and my son, Charles. I was invited to the panel because of my 35 years of experience as an art dealer specializing in Western art, having worked with museums like the Briscoe on many occasions. Charles on the other hand, sees things in a different light because he's much younger and in tune with a completely different audience.
So it's a good mix of how we see the world of Western art and where it's heading. It was fun to do and it lasted about an hour. We had some good Q&A afterwards. You can watch us on YouTube if you want to see how we just kind of talk and interact, which I think is always interesting.
I'm typically surprised when I go and do one of these things, because you just don't know what's going to come up, or how others see what you see differently. That being said, Tim Newton did a lovely job of moderating all the different aspects and voices and it was a great time.
So hope you enjoy this panel at the Briscoe Western Art Museum on Art Dealer Diaries Podcast episode 390. -
I recently attended and exhibited at Scottsdale Art Week, which was the third week in March. They had a lovely series of lectures, and one of them was with photographer Cara Romero. She's a terrific artist that I have in my personal collection.
The Phoenix Art Museum has a big show of her work on display through June 2026 called "Cara Romero: Panûpünüwügai (Living Light)." It's a terrific show and I have been up there twice since it opened. It's very well curated and it's an immersive experience.
In this lecture, Emilia Mickevicius, the Norton Family Assistant Curator of Photography at Phx Art, speaks with Cara about the exhibit and about the works in the First American Girl series, Indigenous Futurism series, and her most recent photographic works. They discuss the themes of survivance, activism and ecology, and how Cara weaves these into each and every photograph she takes.
Cara has her own gallery in Santa Fe and I highly recommend you go see that as well. It was a wonderful lecture. I really enjoyed it and I'm glad I get to upload this talk. This is photographer Cara Romero and curator Emilia Mickevicius on the Art Dealer Diaries Podcast.
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This podcast is a very interesting podcast, because we get to talk to Curt Walters about his retrospective exhibition "Curt Walters: Resilience" at Western Spirit: Scottsdale Museum of the West. We walk through the exhibit and hear about his life as he speaks on his magnificent landscape paintings.
Curt was born in 1950 and he lived in Farmington, NM and this is where his artistic journey really begins. It was so interesting to do this walk-and-talk with Curt through the museum. To be able to see and speak with him and understand what he's done in life in front of some of his most monumental works of art.
I hope people come to see the show Western Spirit and I also hope you watch this on YouTube so you can really get the sense of what we were talking about. It's great as an audio-only experience, but there's something about actually seeing the paintings when he's describing them that is just wonderful.
Anyhow, I'm glad to have had the chance to record this and I hope you enjoy. This is master Grand Canyon painter Curt Walters on Art Dealer Diaries Podcast episode 388.
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If you didn't get to come to our Thomas Blackshear opening and hear this lecture, well, you're in luck, because we recorded it and it was really a wonderful event. Basically, it was Thomas Blackshear and myself talking about the show "Neon Cowboy Posse, The Ten Most Wanted Plus One," and how the whole series began. Questions like, "what was the impetus to do it?" We talk about the characters that Thomas came up with, and how I wrote the short story styled after a pulp fiction magazine to accompany the show.
It's a very interesting lecture and i'm glad Thomas was so open to talking at my gallery. I really loved the fact that I got to be part of the creative process for the show. It's a rarity for art dealers. We usually get to come up maybe with an idea or the way we set things up, but to be actually part of the creative process was a real joy.
As an added bonus, at the beginning of the talk folk recording artist Eli Blackshear (Thomas's son) sang two songs for us. We included that in the podcast as well and are so glad to get to share his talent with our audience.
And so that's what this is all about. I hope you enjoy Thomas Blackshear, Eli Blackshear and myself on Art Dealer Diaries Podcast episode 387. -
When you get to go to an artist's studio, it's literally a sacred place. That's just the best way I can describe it, because it's where creativity begins and ends and inspiration is found there, too. In this case, it was Thomas Blackshear II and his studio.
To be able to see the things that made his career. Seeing the relics that he's held on to in addition to the WIP early stages of the show that is going to open here at Medicine Man Gallery on March 13, 2026. That second part was the main reason I was there. The show is called "Neon Cowboy Posse: The Ten Most Wanted Plus One" and I wanted to go to his studio to see how it was going. It's something we've been working on for almost two years and you get to see those early images of the pieces before they were completely finished.
This studio tour was done like six months ago. You also see his props, his library and an insight into other sides of his life, which are the figurines that he's very well known for. I'd recommend watching this on YouTube, because I think it'll have so much more impact to be able to visualize everything we discuss.
So this was a very special podcast because I'm in that inner sanctum and you get to be as well. This is Thomas Blackshear II on Art Dealer Diaries Podcast episode 386.See the show online:
https://www.medicinemangallery.com/collections/march-6-2026 -
I had Jeremy Winborg on and what a wonderful person he is. I really enjoyed our talk. You know, he's just a classic artist in the sense that everything he's done in his life has been related to creating and making art.
It might be a genetic thing. His father, Larry C. Winborga, is a well-known illustrator and fine artists and his daughter Swede Winborg is an up-and-comer on the Western Art scene.
We had this discussion about how all of that affected his journey and how hard he still has to work on this journey. I mean, he really didn't hit his stride until he's in his late 30s and he's 46 now. So it's not one of these things where you you feel like, oh, he's just an overnight success. But was he actually? The answer is no.
Being an artist is a very difficult journey. Jeremy typifies that journey and we talk about that. So he's just a lovely guy. Jeremy Winborg on Art Dealer Diaries Podcast episode 385.
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This episode of the podcast is a recording of the lecture that Billy Schenck gave to collectors and friends at the Maynard Dixon and Native American Art Museum in early February 2026. The lecture centered around Schenck's prints and the many types of works he's reproduced over the past 55 years. Billy also discusses his iconic career, going into depth about his contemporaries and how he has been influenced by the ever changing cast of artists in his life.
The lecture serves as the end point in a trilogy of podcasts filmed over the last 3 years. These three episodes of the podcast revolved his hugely successful 55-Year Retrospective exhibit and sale that opened at Medicine Man Gallery in Tucson, AZ on February 6th, 2026.
Billy Schenck is a pioneer in the pop-western art movement and we are extremely grateful to have hosted such an important show. His work is on display in dozens of museums across the country, and will someday be housed in his own museum near Santa Fe, New Mexico.
This lecture was not only educational, but very entertaining and I'm glad we were able to record it. This is Billy Schenck on Art Dealer Diaries Podcast episode 384.
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I had artistic polymath Joel Oppenheimer on the podcast today who has recently retired from being an art dealer. He was the former president of Oppenheimer Gallery in Chicago, IL with his son David officially taking over last year.
It's a wonderful gallery. There are many different components to Oppenheimer Gallery. One of them is art conservation, which is how I've gotten to know Joel over the years. Hands down the best paper conservator I've ever had the pleasure of working with.
They also have a renowned art printing component. They make and sell prints of the works of ornithological artist J.J. Audubon. In fact, much like how I am known for my expertise on the artist Maynard Dixon, Joel is most likely the world's leading expert on Audubon and his prints. He's done a couple of different books on Audubon that showcase his knowledge as well as his commitment to achieving the highest quality reproductions possible.
Anyhow, it was a long podcast, we talked for almost two hours, but it was very, very interesting. His life is definitely unique and he's a very wise individual.
He's also an artist. Joel basically started as fine artist and navigated through the art world from expertise to expertise, and now with retirement, he's going back to his original love, painting and pastels.
So this was very unique story of a very successful art dealer and I had a great time. This is Joel Oppenheimer part two.
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I had artistic polymath Joel Oppenheimer on the podcast today who has recently retired from being an art dealer. He was the former president of Oppenheimer Gallery in Chicago, IL with his son David officially taking over last year.
It's a wonderful gallery. There are many different components to Oppenheimer Gallery. One of them is art conservation, which is how I've gotten to know Joel over the years. Hands down the best paper conservator I've ever had the pleasure of working with.
They also have a renowned art printing component. They make and sell prints of the works of ornithological artist J.J. Audubon. In fact, much like how I am known for my expertise on the artist Maynard Dixon, Joel is most likely the world's leading expert on Audubon and his prints. He's done a couple of different books on Audubon that showcase his knowledge as well as his commitment to achieving the highest quality reproductions possible.
Anyhow, it was a long podcast, we talked for almost two hours, but it was very, very interesting. His life is definitely unique and he's a very wise individual.
He's also an artist. Joel basically started as fine artist and navigated through the art world from expertise to expertise, and now with retirement, he's going back to his original love, painting and pastels.
So this was very unique story of a very successful art dealer and I had a great time. This is Joel Oppenheimer part one.
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So Billy Schenck and I have been working on a two year project. It's a retrospective, a 55-year retrospective, and we did a catalog. This podcast was filmed a year ago at Billy's studio where we talked about this project at length.
Now, you get to actually see what we've been working on. To put all this effort in and to get to see them all together is exceptionally gratifying. I'm sure it's gratifying for Bill because this is a big deal, but it's a big deal for me too.
On top of all of his important works that make up the museum show, Billy has has been putting away new works for two years for this show. Large format photographic prints that have never been shown before, as well as some of his caption pieces and a beautiful group of his landscapes.
It was quite interesting to try to set this up because we're looking at his life's work (his serigraphs and foundational paintings) in combination with the result of a life of working on art (his newest body of work). The museum show has a good portion of his serigraphs paired with his early paintings. Trying to figure out that balance from a curatorial standpoint was an interesting experience.
If you're listening to the podcast, go to YouTube, go check out the show, not only the gallery show, but the museum show. We have included a preview of the show in this version of episode 377 of the Art Dealer Diaries Podcast.
So this podcast that you're listening to is the culmination of all the work that we did over the last two years to get to this point. It was an exercise in storytelling, telling the Billy Schenck story, and I think we've done a beautiful job of it.
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I had a podcast today with Erika Victor, who's this just unique individual who I had originally met at the Far West show in Austin, Texas. I had followed her on her Instagram because I liked her work. I just thought it was very unique. It has a sensibility that's different from most other people, and that's what I'm looking for in an artist.
Erika came by my gallery in Tucson to record this episode and I had no idea that by the end of the podcast I'd be showing her work. I truly didn't expect to have that happen. After seeing her work in person, getting to speak to her for an extended period of time, all of that really solidified my idea that this is a person that has what it takes to succeed as an artist and is committed to her craft.
She's from Kansas, and she got her degree in photography, but nowadays she teaches art in Zuni, New Mexico. Not everybody can make the transition to a place like Zuni. It's beautiful, I love the place and the people, but it's very isolated. Erika moved there for her job, but picked Zuni specifically over a handful of other options because of the landscape (something she absolutely loves to paint). She loves painting people too and her paintings of Native American people exhibit a contemporary approach to a classic western art theme.
Anyhow, I enjoyed this podcast a great deal and I hope you like this podcast as much as I did. This is our newest represented artist as of January 2026, Erika Victor.
View available works by Erika Victor here: https://www.medicinemangallery.com/collections/victor-erika
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